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SPANISH CLASSICS

ALBNIZ
Piano Music
6 Danzas espaolas 6 Pequeos valses
6 Mazurkas de saln
Guillermo Gonzlez, Piano

Guillermo Gonzlez Photo by Francisco Fernandez

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Isaac Albniz (18601909)

Piano Music 3
Isaac Albniz was born in Camprodn, in Catalonia, on
29th May 1860, the youngest of four siblings. His family
moved to Barcelona when he was still an infant, and he
soon began piano lessons with his sister Clementina,
giving his first concert at the tender age of four and
delighting the audience at the Teatro Romea. He then
studied with Narcs Oliveres until he was six, when he
went to Paris and studied with Antoine-Franois
Marmontel. On his return to Spain he worked with
Oliveres again until the family moved to Madrid, where he
studied with Ajero, Mendizbal and Compta.
In 1870, still only ten years old, Albniz left the family
home and began to organize his own concert tours, which
took him around his native Spain. In 1872 he travelled to
South America, performing in Argentina, Uruguay and
Brazil, returning to Spain the following year for another
tour of the Iberian peninsula. At the age of fifteen he went
back to the Americas, giving concerts in Puerto Rico,
Havana, Santiago, Mexico City, New York and San
Francisco. On his return to Europe he toured England and
then travelled to Leipzig to study with Salomon Jadassohn
and Carl Reinecke. In a letter to his sister he complained
of being weary of his international travels this at the age
of fifteen.
Having returned to Madrid in 1877, Albniz obtained
the patronage of Count de Morphy, private secretary to
King Alfonso XII, thereby funding further studies in
Brussels with Gevaert and Brassin. After another trip to the
United States in 1878, he won a first prize at the Brussels
Conservatory in 1879, the jury members including Hans
von Blow and Anton Rubinstein. A year later, during a
journey that took in Prague, Vienna and Budapest, Albniz
supposedly met Liszt, whom he greatly admired, and was
accepted as one of his select group of pupils, although no
documentation exists to verify his claim.
In 1881 he went back to Cuba, Mexico and Argentina,
returning to Spain that May to tour Aragn, Navarre and
the Basque Country. An encounter with guitarist El

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Lucena led to his discovery of the sounds of that particular

instrument, and thereafter Albniz frequently incorporated
elements inspired by Andalusian guitar music into his
piano works.
In 1886 he appeared at Madrids principal concert hall,
the Saln Romero, and was acclaimed as a giant with
poetry in his fingers. By now he was renowned
throughout Spain. Another tour of Cuba followed, then in
1889, the publishing house rard organised a series of
piano recitals at the Universal Exposition in Paris. These
showcased his use of guitar-like strumming, entirely new
to keyboard music, and proved to be crucial in publicising
his work. Dukas, Faur, Debussy, Ravel and Chausson
were among those who heard him play, and the Hispanic
influence on French music flourished from that point
onwards. A continuous string of successes across Europe
made him a natural leader of the Spanish nationalist school,
and he introduced Falla, Turina and many other Spanish
composers to the musical circles of Paris. Albniz gave
his final public performance at a Libre Esthtique concert
in Brussels. In March 1909, by which time he was already
very ill, he moved to the French spa town of Cambo-lesBains, dying there on 18th May the same year.
Isaac Albnizs huge contribution to Spanish musical
nationalism reached its apogee with Iberia (subtitled
Twelve New Impressions in Four Books, 1905-09), but
before writing this masterpiece, he had already composed
a significant quantity of piano music, much of it falling
into the popular nineteenth-century genre of salon music:
pieces designed to meet the demand for music to be played
by the daughters of the aristocracy and upper middle
classes, for whom playing the piano ranked alongside
French and needlework as a central aspect of education.
A distinction must be drawn between this type of
music, written for European high society, for whom salon
music had become a principal pastime, and the kind of
music conceived by composers as a vehicle for technical
and formal innovation and to be performed by professional

elaboracin, se distingue en calidad de las anteriores.

Danza N 5 en la bemol mayor, dedicada A mi querida
discpula Pepita Patilla, hermana de Sofa y Victoria. Es
la ms interesante desde el punto de vista armnico y deja
traslucir al Albniz del futuro, por su bsqueda de lo
espaol y por su riqueza armnica. Danza N 6 en re

mayor, dedicada A mi distinguida discpula Concha

Grandera, igual que las anteriores en 2/4 y esquema
rtmico semejante al de la danza n 5.
Antonio Martn Moreno

Guillermo Gonzlez
Nace en Tenerife (Espaa). Estudia msica en el Conservatorio de Sta. Cruz de Tenerife y posteriormente
perfeccionamiento de piano en Madrid con el maestro Jos Cubiles. Contina su formacin en Pars, en el Conservatorio
Superior de Msica y en la Schola Cantorum. En Pars recibe directamente la gran tradicin interpretativa de la msica
impresionista, a travs de sus maestros V. Perlemuter y J. P. Sevilla. Obtiene desde muy joven premios en Concursos
de piano internacionales: Miln, Vercelli (Viotti), Jan, Tenerife. Catedrtico de piano del Real Conservatorio de
Msica de Madrid, desde 1974, ana su labor docente con la de intrprete ofreciendo recitales y conciertos por todo el
mundo, con actuaciones en Alemania, Australia, Austria, Francia, Repblica Checa, Estados Unidos, Eslovaquia,
Suiza, Rusia as como en numerosos pases latinoamericanos. Ha colaborado con numerosas Orquestas de prestigio
internacional, (Radiotelevisin Espaola, Nacional de Espaa, Estrasburgo, Dresde, Liverpool, Escocesa de Cmara,
Sinfnica de Madrid,), bajo la direccin de prestigiosos Maestros. Ha obtenido crticas memorables en que se cita su
profundo conocimiento y versatilidad interpretativa de la literatura pianstica de todas las pocas. Considerado como
especialista en msica espaola su repertorio incluye las integrales de Albniz, Falla y E. Halffter, as como estrenos
de diferentes autores espaoles contemporneos (Luis de Pablo, Garca Abril, Oliver, Cruz de Castro, Zulema de la Cruz,
etc.) Ha realizado numerosas grabaciones discogrficas, destacando las dedicadas a la obra pianstica de Scriabin, E.
Halffter, Falla, Garca Abril. Su disco Obras para piano, de Teobaldo Power, mereci el Premio Nacional del Disco en
1980. En 1996 graba en directo la Suite Iberia de Albniz para la Unin Europea de Radio. En 1998 publica la Iberia
de Isaac Albniz, en la que por primera vez se ofrecen los textos manuscritos del compositor en una edicin facsmil
(Ediciones Musicales Schott Internacional S.L) una segunda edicin urtext (copia impresa de los manuscritos), y una
tercera edicin revisada. Este texto es el que le ha servido para la grabacin discogrfica de la Suite Iberia (Naxos).
Invitado por conservatorios e Instituciones musicales, imparte numerosos cursos de Perfeccionamiento e Interpretacin
pianstica, tanto en Espaa como en el extranjero. Es Profesor Invitado habitual en la Facultad de Msica de la
Universidad de Melbourne. Ha sido miembro del Jurado en distintos Concursos internacionales de piano, y desde 1990
preside el Concurso Internacional de piano de Jan, que le ha concedido la Medalla de Oro por su labor. Es miembro
de la Real Academia de Bellas Artes de Tenerife, Granada y Cdiz, Catedrtico Extraordinario y Honorario del
Conservatorio de dicha ciudad y Socio de Honor de diversas entidades culturales. Se ha dado su nombre a diferentes
sociedades y escuelas musicales. Ha sido nombrado hijo Predilecto de la Laguna e hijo Adoptivo de Garachico (Tenerife).
En 1991 se le concede el Premio Nacional de Msica, mximo galardn del Estado Espaol en su especialidad. Es
Premio Aavingo de 1993. En 1994 le otorgan la Medalla de Oro de la Isla de Tenerife y en 1996, la Medalla de la
Villa de Garachico en el V Centenario. En el ao 2001 le concedieron el Premio Fundacin C.E.O.E Espaa a la
Interpretacin Musical.

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comparamos con las que conforman el gran repertorio

virtuosstico de la msica para piano, pero cobran un nuevo
y diferente valor si se las considera como lo que son: reflejo
de la sociedad de su tiempo, msicas que escuchaban y
tocaban nuestros antepasados y que forman parte de la vida
cultural convencional, msicas agradables, correctamente
compuestas y de belleza intrascendente, pero no por ello
menos emotiva. Se trata de un entraable repertorio que
habitualmente permanece a la sombra de las grandes obras
que definen la evolucin de la tcnica pianstica.
Compuestas hacia 1885 las Seis Mazurcas de saln, op.
66, estn editadas por Antonio Romero en 1886. La 1 y la
2 son iguales que First Mazurca, Second Mazurca, editadas
en Londres por Stanley Lucas, Weber & Co., en 1890.
Obras de compromiso en su labor docente con las damas de
la nobleza y la burguesa, presentan en la portada de cada
una de ellas, dibujadas, tarjetas de visita con sus esquinas
dobladas y el nombre de las destinatarias. Tienen una
influencia chopiniana evidente. La mazurka n 1, Isabel,
est dedicada A la Exma. Seora Condesa de Benhavis,
la Isabel del ttulo. Tiempo enrgico y tonalidad de la bemol
mayor. La mazurka n 2, Casilda, dedicada A la
aristocrtica y eminente Artista Seorita Casilda Alonso
Martnez, tiene tempo Allegro y tonalidad de fa menor. La
mazurka n 3, Aurora, la dedica A mi distinguida amiga
Seorita Aurora Benamejs. Non troppo con la indicacin
elegante, propia de la msica de saln. La mazurka n 4,
Sofa, es la ms corta de todas y la ms chopiniana,
dedicada A mi distinguida discpula Seorita Sofa de
Patilla. La mazurka n 5, Christa, dedicada A mi
adorable amiguita Christa Morphy, hija de su protector y
amigo el Conde de Morphy. Es la ms extensa de las seis.
Su tempo es Presto y no tiene por ello carcter de vals. La
mazurka n 6, Mara, dedicada A mi buena y querida
discpula Seorita Mara de Vida, es la de mayor riqueza
armnica. Tempo giusto, en sol mayor.
Los Seis pequeos walses,(sic, con w) Op. 25 fueron
compuestos en torno a 1880 cuando contaba 20 aos de
edad, en plena poca romntica del compositor en la que
abundan, estudios, pavanas, mazurcas, barcarolas y otras
piezas de saln, escritas a cinco pesetas la pgina para el

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Page 6

editor Romero y a tres setenta y cinco para el cataln Pujol,

Evidentemente - confesaba Albniz a M.C. de Castera - no
era caro, pero yo haca aquello muy de prisa. De claro
influjo chopiniano, no llevan otro ttulo que la indicacin
de tempo o el carcter de cada uno y estn dedicados como
Respetuoso recuerdo a la Srta. de Morphy
El vals N 1, Allegretto. marcato il canto, indica ligero,
y est en re bemol mayor. El vals N 2, Melanclico, en mi
bemol mayor, presenta un tema muy chopiniano, siendo el
ms breve de toda la serie. El vals N 3, Allegro, ben
ritmado, en la mayor, ofrece un claro contraste con el
carcter del precedente. El vals N 4, Allegretto, en mi
bemol mayor, de nuevo nos recuerda la escritura de Chopin
o Schubert y es el ms extenso de los seis. El vals N 5, Con
brio e ritmo, en fa mayor, en el que de nuevo la influencia
de Chopin es evidente. El vals N 6, Allegro molto y en la
bemol mayor.
Escritas antes de 1887 dentro de ese estilo de msica
de saln las Seis danzas espaolas tienen otra vez una
justificacin didctica, al estar dedicadas (salvo una) a sus
alumnas. Presentan los primeros atisbos de la necesidad de
Albniz de encontrar su propio lenguaje espaolista,
abandonando el estilo de Chopin y Schumann que hasta
ahora orientaba su esttica. Son a la vez cubanas y
espaolas, (Cuba era provincia espaola) y recogen la
experiencia cubana de Albniz. Aqu insiste en el aspecto
rtmico, que ser una de las caractersticas de su produccin
posterior, trabajando en la rtmica propia del tango o
habanera que alterna o simultanea el ritmo binario y el
ternario. Danza N 1 en re mayor. Sin indicacin de tempo.
Dedicada a mi querida discpula Raimunda de Llorens,
es la ms corta de las seis. Danza N 2 en si bemol mayor.
Allegretto y la dedicatoria a mi querida amiga y discpula
Srta. Pilar de Lora. Danza N 3 en mi bemol mayor.
Allegretto, dedicada a mi buena discpula Srta. Victoria de
Patilla, hermana de Sofa de Patilla.
Danza N 4 en sol mayor. Dedicada al insigne pintor
Gomar recuerdo afectuoso del autor. Antonio Gomar y
Gomar (Benignim, 26 Marzo 1849 - Madrid, 1911) es un
olvidado pintor valenciano que en la actualidad est en vas
de recuperacin. Por sus contrastes, plan tonal y mayor

pianists whose concerts were equally in demand by that

same society. These early works may appear of less value
when compared with those that make up the great virtuosic
piano repertoire, but they acquire a new and different
significance when considered for what they are: a
reflection of the society of the time, pieces listened to and
performed by our forebears and which formed part of their
day-to-day cultural life; enjoyable, well written pieces,
whose beauty may be inconsequential but remains moving
nonetheless. This is an attractive repertoire usually
overshadowed by the masterpieces that define the
development of piano technique.
The 6 Mazurkas de saln, Op. 66, were composed
around 1885 and published by Antonio Romero the
following year. Nos.1 and 2 are the same as the First and
Second Mazurkas published in London by Stanley Lucas,
Weber & Co. in 1890. Written for Albnizs teaching work
with the daughters of the wealthy, they bear on their covers
drawings of calling cards with the corners turned down
and the name of their dedicatees. Chopins influence is
evident throughout. Mazurka No. 1, Isabel, is dedicated
to the most excellent lady countess of Benhavis, the
Isabel of the title. It is marked Tiempo enrgico and is in
A flat major. Mazurka No. 2, Casilda, dedicated to the
aristocratic and eminent artist Miss Casilda Alonso
Martnez, is marked Allegro and written in F minor.
Mazurka No. 3, Aurora, is dedicated to my distinguished
friend Miss Aurora Benamejs and marked Non troppo
and elegante, both most suitable terms for salon music.
Mazurka No. 4, Sofa, is the shortest of the set and the one
which owes most to Chopin. It is dedicated to my
distinguished pupil Miss Sofa de Patilla. Mazurka No. 5,
Christa, was for my adorable little friend Christa
Morphy, daughter of his patron and friend Count de
Morphy. This is the longest of the six, marked Presto, and
therefore not waltz-like in nature. Mazurka No. 6, Mara,
in G major, for my dear, good pupil Miss Mara de Vida,
has the greatest wealth of harmonies and is marked Tiempo
giusto.
The 6 Pequeos valses (6 Little Waltzes), Op. 25, were
written around 1880, when the composer was about twenty

years old and at the height of his romantic phase, during

which he produced quantities of tudes, pavanes,
mazurkas, barcarolles and other salon pieces at five pesetas
a page for Romero and even less for the Catalan publisher
Pujol. As Albniz admitted to M.C. de Castera, it was
not much, of course, but I did the work very quickly.
Again clearly influenced by Chopin, they all bear simply
a tempo marking or a description of their character, and the
dedication reads thus: to Miss de Morphy, with the
greatest respect. Waltz No. 1, in D flat major, is marked
Allegretto. Marcato il canto and Leggiero. Waltz No. 2,
Melanclico, in E flat major, is the shortest in the series,
its theme clearly redolent of Chopin. Waltz No. 3, Allegro
ben ritmato, in A major, offers a clear contrast with the
character of the previous piece. Waltz No. 4, Allegretto,
in E flat major, is once again reminiscent of Chopin, or of
Schubert, and is the longest of the six. Waltz No. 5, Con
brio e ritmo is in F major, and it too is clearly influenced
by Chopin. Waltz No. 6, Allegro molto is in A flat major.
The 6 Spanish Dances were written before 1887, again
as salon music and for didactic purposes, Albniz
dedicating all except one to pupils of his. Here we find
the first hints of the composers need to find his own,
identifiably Spanish idiom, distancing himself from
Chopin and Schumann, whose aesthetic influence had thus
far been so significant. The dances are both Cuban and
Spanish in feel (Cuba was still a Spanish colony at the
time) and reflect the experiences the composer had gained
during his time in the Caribbean. The emphasis here is on
the rhythms, something that would be characteristic of his
later production, featuring the tango or habanera either
alternating binary and ternary rhythms or combining them.
Dance No. 1, in D major, the shortest, has no tempo
marking, but is dedicated to my dear pupil Raimunda de
Llorens. Dance No. 2, in B flat major and marked
Allegretto is dedicated to my dear friend and pupil Srta.
Pilar de Lora. Dance No. 3, in E flat major, Allegretto,
is dedicated to my dear pupil Miss Victoria de Patilla,
sister of Sofa de Patilla. Dance No. 4, in G major, is
dedicated with affection to the distinguished artist
Gomar. Antonio Gomar y Gomar (Benignim, 26th

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March 1849Madrid, 1911) is a little-known Valencian

painter whose reputation is currently being reassessed. The
contrasts, tonal scheme and greater use of development in
this dance distinguish it from the preceding three. Dance
No. 5, in A flat major, is dedicated to my dear pupil Pepita
Patilla, sister of Sofa and Victoria. This is harmonically
the most interesting of the set and, with its sense of a quest

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Page 4

for a distinctively Spanish idiom, gives a glimpse of the

future Albniz. Dance No. 6, in D major, is dedicated to
my distinguished pupil Concha Grandera; like the earlier
pieces this is in 2/4, with a rhythmic schema similar to
that of No. 5.
Antonio Martn Moreno
English translation: Susannah Howe

Guillermo Gonzles
Chosen to represent Spain and the entire Hispanic world in the concert that took place as part of the cultural events during
the Olympic Games in Beijing in 2008, Guillermo Gonzlez, born in Tenerife, is considered one of Spains greatest
artists and a prominent champion of Spanish music. He has served as professor at the Conservatorio Superior de Madrid
since 1975, and has given recitals and concerts throughout the world, appearing with leading orchestras and conductors
in Spain, France and China. His many recordings include releases of music by Alexander Scriabin, Ernesto Halffter,
Manuel de Falla, Antn Garca Abril, Zulema de la Cruz, Carlos Cruz Castro, Jos Lus Turina and Teobaldo Power,
for which he received the Premio Nacional del Disco in 1980. Since 1990 he has presided over the Concurso Internacional
de Piano de Jan, receiving a gold medal for his work with this organization. He is a member of the Real Academia de
Bellas Artes of Tenerife (Canary Islands), Granada and Cdiz, as well as Honorary and Extraordinary Academician of
the Conservatory of Santa Cruz of Tenerife. In addition, several music schools have been named after him in his native
Spain. In 1994 he was awarded the gold medal of the Island of Tenerife and named Favourite Son of the Lagoon and
Adoptive son of Garachico (Tenerife). In 1991 Guillermo Gonzlez was awarded the Premio Nacional de Msica, the
most prestigious prize awarded to musicians in Spain; his numerous prizes and awards include the medal of the Village
of Garachico 1996, and the Premio a la Interpretacin Musical de la Fundacin C.E.O.E. and in 2007 an honorary
doctorate from the University of Granada, with the Albniz Medal presented in 2009 in Camprodn, that composer's
birthplace.

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Isaac Albniz (18601909)

Msica para piano 3
Isaac Albniz naci en Camprodn (Catalua) el 29-V1860, hijo de padre alavs, siendo el menor de cuatro
hermanos. Muy pronto la familia se traslad a Barcelona.
Su hermana Clementina le ense a tocar el piano, dando
Albniz su primer concierto con cuatro aos en el Teatro
Romea, causando la admiracin del pblico. Estudi con
Narcs Oliveres hasta los seis aos, en que se traslad a
Pars para estudiar con Marmontel. De nuevo en Espaa
continu estudios con Narcs Oliveres. En 1869 la familia
se traslad a Madrid, donde Albniz estudi con Ajero,
Mendizbal y Compta.
Con diez aos (1870) abandon la casa familiar y
organiz sus propias giras de conciertos, recorriendo toda
Espaa. En 1872 viaj a Sudamrica dando conciertos en
Argentina, Uruguay y Brasil. En 1873 regres a Espaa
realizando otra gira de conciertos por la pennsula. Con
quince aos (1875), regres a Amrica, dando conciertos
en Puerto Rico, La Habana y Santiago de Cuba. De
Santiago viaj a Mxico, Nueva York y San Francisco.
Regres a Europa, con gira de conciertos por Inglaterra y
viaje a Leipzig para estudiar con Jadassohn y Reinecke.
En una carta a su hermana se queja de estar cansado de
recorrer el mundo a los quince aos de edad!
Regres a Madrid en 1877, obteniendo la proteccin
del conde de Morphy, secretario particular de Alfonso XII,
que le coste estudios con Gevaert y Brassin en Bruselas.
Nuevo viaje a Estados Unidos en 1878, antes de obtener en
1879 el primer premio del Conservatorio de Bruselas con
un jurado en el que estaban von Blow y Anton Rubinstein.
En 1880, en un viaje por Praga, Viena y Budapest, Albniz
cuenta que conoci a Liszt, que le acept como uno de sus
discpulos escogidos, pero es imposible confirmar
documentalmente esta afirmacin, fruto de su admiracin
por el msico hngaro.
En 1881 volvi a Cuba, Mxico y Argentina, regresando
a Espaa en mayo, con giras por Aragn, Navarra y el Pas
Vasco. Descubre la guitarra a travs del guitarrista El
Lucena incorporando la escritura guitarrstica andaluza

en sus obras piansticas.

En 1886 se present en el Saln Romero, principal sala
de conciertos de Madrid. La crtica lo defini como un
gigante que lleva la poesa en los dedos. Su fama es
enorme en toda Espaa. En mayo de 1886 realiz otro viaje
a Cuba. La Exposicin Universal de Pars de 1889, con los
recitales que le organiz la casa Erard, fue trascendental
para la difusin de la msica de Albniz, con la utilizacin
del uso pianstico del rasgueado de guitarra, procedimiento
indito en la msica de teclado. Al ser escuchado por
Dukas, Faur, Debussy, Ravel y Chausson, entre otros,
produjo la eclosin del hispanismo en Francia. Los xitos
ininterrumpidos en toda Europa lo convierten en el mentor
de la escuela nacionalista espaola, introduciendo en los
crculos musicales de Pars a Manuel de Falla, Joaqun
Turina y otros muchos espaoles. Toc en pblico por
ltima vez en los conciertos de la Libre Esthtique de
Bruselas. En marzo de 1909, muy enfermo, se traslad al
balneario de Cambo-les-Bains, (pas vasco-francs),
falleciendo all el 18 de mayo de ese ao.
La gran aportacin al nacionalismo musical espaol de
Isaac Albniz culmina con su Iberia o las Douze Nouvelles
Impressions en Quatre Cahiers (1905-1909) pero, antes de
esta magna obra, dej una importante cantidad de msica
para piano en el estilo propio de la msica para saln del
siglo XIX, que satisfaca una demanda de la educacin
femenina de la nobleza y alta burguesa, que en Espaa
tena en el estudio del piano uno de sus pilares educativos,
junto con el idioma francs y las labores.
Hay que distinguir entre este tipo de msica, demandada
por una sociedad que haba hecho de la msica de saln uno
de sus principales pasatiempos en toda Europa, y aquella
otra en la que los compositores innovaban tanto en la
tcnica como en la forma e iba destinada a los pianistas
profesionales cuyos conciertos, en los que exhiban su alto
virtuosismo, eran igualmente demandados por esa misma
sociedad.
Estas primeras obras se resienten en su valoracin si las

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March 1849Madrid, 1911) is a little-known Valencian

painter whose reputation is currently being reassessed. The
contrasts, tonal scheme and greater use of development in
this dance distinguish it from the preceding three. Dance
No. 5, in A flat major, is dedicated to my dear pupil Pepita
Patilla, sister of Sofa and Victoria. This is harmonically
the most interesting of the set and, with its sense of a quest

8:18 PM

Page 4

for a distinctively Spanish idiom, gives a glimpse of the

future Albniz. Dance No. 6, in D major, is dedicated to
my distinguished pupil Concha Grandera; like the earlier
pieces this is in 2/4, with a rhythmic schema similar to
that of No. 5.
Antonio Martn Moreno
English translation: Susannah Howe

Guillermo Gonzles
Chosen to represent Spain and the entire Hispanic world in the concert that took place as part of the cultural events during
the Olympic Games in Beijing in 2008, Guillermo Gonzlez, born in Tenerife, is considered one of Spains greatest
artists and a prominent champion of Spanish music. He has served as professor at the Conservatorio Superior de Madrid
since 1975, and has given recitals and concerts throughout the world, appearing with leading orchestras and conductors
in Spain, France and China. His many recordings include releases of music by Alexander Scriabin, Ernesto Halffter,
Manuel de Falla, Antn Garca Abril, Zulema de la Cruz, Carlos Cruz Castro, Jos Lus Turina and Teobaldo Power,
for which he received the Premio Nacional del Disco in 1980. Since 1990 he has presided over the Concurso Internacional
de Piano de Jan, receiving a gold medal for his work with this organization. He is a member of the Real Academia de
Bellas Artes of Tenerife (Canary Islands), Granada and Cdiz, as well as Honorary and Extraordinary Academician of
the Conservatory of Santa Cruz of Tenerife. In addition, several music schools have been named after him in his native
Spain. In 1994 he was awarded the gold medal of the Island of Tenerife and named Favourite Son of the Lagoon and
Adoptive son of Garachico (Tenerife). In 1991 Guillermo Gonzlez was awarded the Premio Nacional de Msica, the
most prestigious prize awarded to musicians in Spain; his numerous prizes and awards include the medal of the Village
of Garachico 1996, and the Premio a la Interpretacin Musical de la Fundacin C.E.O.E. and in 2007 an honorary
doctorate from the University of Granada, with the Albniz Medal presented in 2009 in Camprodn, that composer's
birthplace.

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Isaac Albniz (18601909)

Msica para piano 3
Isaac Albniz naci en Camprodn (Catalua) el 29-V1860, hijo de padre alavs, siendo el menor de cuatro
hermanos. Muy pronto la familia se traslad a Barcelona.
Su hermana Clementina le ense a tocar el piano, dando
Albniz su primer concierto con cuatro aos en el Teatro
Romea, causando la admiracin del pblico. Estudi con
Narcs Oliveres hasta los seis aos, en que se traslad a
Pars para estudiar con Marmontel. De nuevo en Espaa
continu estudios con Narcs Oliveres. En 1869 la familia
se traslad a Madrid, donde Albniz estudi con Ajero,
Mendizbal y Compta.
Con diez aos (1870) abandon la casa familiar y
organiz sus propias giras de conciertos, recorriendo toda
Espaa. En 1872 viaj a Sudamrica dando conciertos en
Argentina, Uruguay y Brasil. En 1873 regres a Espaa
realizando otra gira de conciertos por la pennsula. Con
quince aos (1875), regres a Amrica, dando conciertos
en Puerto Rico, La Habana y Santiago de Cuba. De
Santiago viaj a Mxico, Nueva York y San Francisco.
Regres a Europa, con gira de conciertos por Inglaterra y
viaje a Leipzig para estudiar con Jadassohn y Reinecke.
En una carta a su hermana se queja de estar cansado de
recorrer el mundo a los quince aos de edad!
Regres a Madrid en 1877, obteniendo la proteccin
del conde de Morphy, secretario particular de Alfonso XII,
que le coste estudios con Gevaert y Brassin en Bruselas.
Nuevo viaje a Estados Unidos en 1878, antes de obtener en
1879 el primer premio del Conservatorio de Bruselas con
un jurado en el que estaban von Blow y Anton Rubinstein.
En 1880, en un viaje por Praga, Viena y Budapest, Albniz
cuenta que conoci a Liszt, que le acept como uno de sus
discpulos escogidos, pero es imposible confirmar
documentalmente esta afirmacin, fruto de su admiracin
por el msico hngaro.
En 1881 volvi a Cuba, Mxico y Argentina, regresando
a Espaa en mayo, con giras por Aragn, Navarra y el Pas
Vasco. Descubre la guitarra a travs del guitarrista El
Lucena incorporando la escritura guitarrstica andaluza

en sus obras piansticas.

En 1886 se present en el Saln Romero, principal sala
de conciertos de Madrid. La crtica lo defini como un
gigante que lleva la poesa en los dedos. Su fama es
enorme en toda Espaa. En mayo de 1886 realiz otro viaje
a Cuba. La Exposicin Universal de Pars de 1889, con los
recitales que le organiz la casa Erard, fue trascendental
para la difusin de la msica de Albniz, con la utilizacin
del uso pianstico del rasgueado de guitarra, procedimiento
indito en la msica de teclado. Al ser escuchado por
Dukas, Faur, Debussy, Ravel y Chausson, entre otros,
produjo la eclosin del hispanismo en Francia. Los xitos
ininterrumpidos en toda Europa lo convierten en el mentor
de la escuela nacionalista espaola, introduciendo en los
crculos musicales de Pars a Manuel de Falla, Joaqun
Turina y otros muchos espaoles. Toc en pblico por
ltima vez en los conciertos de la Libre Esthtique de
Bruselas. En marzo de 1909, muy enfermo, se traslad al
balneario de Cambo-les-Bains, (pas vasco-francs),
falleciendo all el 18 de mayo de ese ao.
La gran aportacin al nacionalismo musical espaol de
Isaac Albniz culmina con su Iberia o las Douze Nouvelles
Impressions en Quatre Cahiers (1905-1909) pero, antes de
esta magna obra, dej una importante cantidad de msica
para piano en el estilo propio de la msica para saln del
siglo XIX, que satisfaca una demanda de la educacin
femenina de la nobleza y alta burguesa, que en Espaa
tena en el estudio del piano uno de sus pilares educativos,
junto con el idioma francs y las labores.
Hay que distinguir entre este tipo de msica, demandada
por una sociedad que haba hecho de la msica de saln uno
de sus principales pasatiempos en toda Europa, y aquella
otra en la que los compositores innovaban tanto en la
tcnica como en la forma e iba destinada a los pianistas
profesionales cuyos conciertos, en los que exhiban su alto
virtuosismo, eran igualmente demandados por esa misma
sociedad.
Estas primeras obras se resienten en su valoracin si las

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comparamos con las que conforman el gran repertorio

virtuosstico de la msica para piano, pero cobran un nuevo
y diferente valor si se las considera como lo que son: reflejo
de la sociedad de su tiempo, msicas que escuchaban y
tocaban nuestros antepasados y que forman parte de la vida
cultural convencional, msicas agradables, correctamente
compuestas y de belleza intrascendente, pero no por ello
menos emotiva. Se trata de un entraable repertorio que
habitualmente permanece a la sombra de las grandes obras
que definen la evolucin de la tcnica pianstica.
Compuestas hacia 1885 las Seis Mazurcas de saln, op.
66, estn editadas por Antonio Romero en 1886. La 1 y la
2 son iguales que First Mazurca, Second Mazurca, editadas
en Londres por Stanley Lucas, Weber & Co., en 1890.
Obras de compromiso en su labor docente con las damas de
la nobleza y la burguesa, presentan en la portada de cada
una de ellas, dibujadas, tarjetas de visita con sus esquinas
dobladas y el nombre de las destinatarias. Tienen una
influencia chopiniana evidente. La mazurka n 1, Isabel,
est dedicada A la Exma. Seora Condesa de Benhavis,
la Isabel del ttulo. Tiempo enrgico y tonalidad de la bemol
mayor. La mazurka n 2, Casilda, dedicada A la
aristocrtica y eminente Artista Seorita Casilda Alonso
Martnez, tiene tempo Allegro y tonalidad de fa menor. La
mazurka n 3, Aurora, la dedica A mi distinguida amiga
Seorita Aurora Benamejs. Non troppo con la indicacin
elegante, propia de la msica de saln. La mazurka n 4,
Sofa, es la ms corta de todas y la ms chopiniana,
dedicada A mi distinguida discpula Seorita Sofa de
Patilla. La mazurka n 5, Christa, dedicada A mi
adorable amiguita Christa Morphy, hija de su protector y
amigo el Conde de Morphy. Es la ms extensa de las seis.
Su tempo es Presto y no tiene por ello carcter de vals. La
mazurka n 6, Mara, dedicada A mi buena y querida
discpula Seorita Mara de Vida, es la de mayor riqueza
armnica. Tempo giusto, en sol mayor.
Los Seis pequeos walses,(sic, con w) Op. 25 fueron
compuestos en torno a 1880 cuando contaba 20 aos de
edad, en plena poca romntica del compositor en la que
abundan, estudios, pavanas, mazurcas, barcarolas y otras
piezas de saln, escritas a cinco pesetas la pgina para el

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Page 6

editor Romero y a tres setenta y cinco para el cataln Pujol,

Evidentemente - confesaba Albniz a M.C. de Castera - no
era caro, pero yo haca aquello muy de prisa. De claro
influjo chopiniano, no llevan otro ttulo que la indicacin
de tempo o el carcter de cada uno y estn dedicados como
Respetuoso recuerdo a la Srta. de Morphy
El vals N 1, Allegretto. marcato il canto, indica ligero,
y est en re bemol mayor. El vals N 2, Melanclico, en mi
bemol mayor, presenta un tema muy chopiniano, siendo el
ms breve de toda la serie. El vals N 3, Allegro, ben
ritmado, en la mayor, ofrece un claro contraste con el
carcter del precedente. El vals N 4, Allegretto, en mi
bemol mayor, de nuevo nos recuerda la escritura de Chopin
o Schubert y es el ms extenso de los seis. El vals N 5, Con
brio e ritmo, en fa mayor, en el que de nuevo la influencia
de Chopin es evidente. El vals N 6, Allegro molto y en la
bemol mayor.
Escritas antes de 1887 dentro de ese estilo de msica
de saln las Seis danzas espaolas tienen otra vez una
justificacin didctica, al estar dedicadas (salvo una) a sus
alumnas. Presentan los primeros atisbos de la necesidad de
Albniz de encontrar su propio lenguaje espaolista,
abandonando el estilo de Chopin y Schumann que hasta
ahora orientaba su esttica. Son a la vez cubanas y
espaolas, (Cuba era provincia espaola) y recogen la
experiencia cubana de Albniz. Aqu insiste en el aspecto
rtmico, que ser una de las caractersticas de su produccin
posterior, trabajando en la rtmica propia del tango o
habanera que alterna o simultanea el ritmo binario y el
ternario. Danza N 1 en re mayor. Sin indicacin de tempo.
Dedicada a mi querida discpula Raimunda de Llorens,
es la ms corta de las seis. Danza N 2 en si bemol mayor.
Allegretto y la dedicatoria a mi querida amiga y discpula
Srta. Pilar de Lora. Danza N 3 en mi bemol mayor.
Allegretto, dedicada a mi buena discpula Srta. Victoria de
Patilla, hermana de Sofa de Patilla.
Danza N 4 en sol mayor. Dedicada al insigne pintor
Gomar recuerdo afectuoso del autor. Antonio Gomar y
Gomar (Benignim, 26 Marzo 1849 - Madrid, 1911) es un
olvidado pintor valenciano que en la actualidad est en vas
de recuperacin. Por sus contrastes, plan tonal y mayor

pianists whose concerts were equally in demand by that

same society. These early works may appear of less value
when compared with those that make up the great virtuosic
piano repertoire, but they acquire a new and different
significance when considered for what they are: a
reflection of the society of the time, pieces listened to and
performed by our forebears and which formed part of their
day-to-day cultural life; enjoyable, well written pieces,
whose beauty may be inconsequential but remains moving
nonetheless. This is an attractive repertoire usually
overshadowed by the masterpieces that define the
development of piano technique.
The 6 Mazurkas de saln, Op. 66, were composed
around 1885 and published by Antonio Romero the
following year. Nos.1 and 2 are the same as the First and
Second Mazurkas published in London by Stanley Lucas,
Weber & Co. in 1890. Written for Albnizs teaching work
with the daughters of the wealthy, they bear on their covers
drawings of calling cards with the corners turned down
and the name of their dedicatees. Chopins influence is
evident throughout. Mazurka No. 1, Isabel, is dedicated
to the most excellent lady countess of Benhavis, the
Isabel of the title. It is marked Tiempo enrgico and is in
A flat major. Mazurka No. 2, Casilda, dedicated to the
aristocratic and eminent artist Miss Casilda Alonso
Martnez, is marked Allegro and written in F minor.
Mazurka No. 3, Aurora, is dedicated to my distinguished
friend Miss Aurora Benamejs and marked Non troppo
and elegante, both most suitable terms for salon music.
Mazurka No. 4, Sofa, is the shortest of the set and the one
which owes most to Chopin. It is dedicated to my
distinguished pupil Miss Sofa de Patilla. Mazurka No. 5,
Christa, was for my adorable little friend Christa
Morphy, daughter of his patron and friend Count de
Morphy. This is the longest of the six, marked Presto, and
therefore not waltz-like in nature. Mazurka No. 6, Mara,
in G major, for my dear, good pupil Miss Mara de Vida,
has the greatest wealth of harmonies and is marked Tiempo
giusto.
The 6 Pequeos valses (6 Little Waltzes), Op. 25, were
written around 1880, when the composer was about twenty

years old and at the height of his romantic phase, during

which he produced quantities of tudes, pavanes,
mazurkas, barcarolles and other salon pieces at five pesetas
a page for Romero and even less for the Catalan publisher
Pujol. As Albniz admitted to M.C. de Castera, it was
not much, of course, but I did the work very quickly.
Again clearly influenced by Chopin, they all bear simply
a tempo marking or a description of their character, and the
dedication reads thus: to Miss de Morphy, with the
greatest respect. Waltz No. 1, in D flat major, is marked
Allegretto. Marcato il canto and Leggiero. Waltz No. 2,
Melanclico, in E flat major, is the shortest in the series,
its theme clearly redolent of Chopin. Waltz No. 3, Allegro
ben ritmato, in A major, offers a clear contrast with the
character of the previous piece. Waltz No. 4, Allegretto,
in E flat major, is once again reminiscent of Chopin, or of
Schubert, and is the longest of the six. Waltz No. 5, Con
brio e ritmo is in F major, and it too is clearly influenced
by Chopin. Waltz No. 6, Allegro molto is in A flat major.
The 6 Spanish Dances were written before 1887, again
as salon music and for didactic purposes, Albniz
dedicating all except one to pupils of his. Here we find
the first hints of the composers need to find his own,
identifiably Spanish idiom, distancing himself from
Chopin and Schumann, whose aesthetic influence had thus
far been so significant. The dances are both Cuban and
Spanish in feel (Cuba was still a Spanish colony at the
time) and reflect the experiences the composer had gained
during his time in the Caribbean. The emphasis here is on
the rhythms, something that would be characteristic of his
later production, featuring the tango or habanera either
alternating binary and ternary rhythms or combining them.
Dance No. 1, in D major, the shortest, has no tempo
marking, but is dedicated to my dear pupil Raimunda de
Llorens. Dance No. 2, in B flat major and marked
Allegretto is dedicated to my dear friend and pupil Srta.
Pilar de Lora. Dance No. 3, in E flat major, Allegretto,
is dedicated to my dear pupil Miss Victoria de Patilla,
sister of Sofa de Patilla. Dance No. 4, in G major, is
dedicated with affection to the distinguished artist
Gomar. Antonio Gomar y Gomar (Benignim, 26th

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Page 2

Isaac Albniz (18601909)

Piano Music 3
Isaac Albniz was born in Camprodn, in Catalonia, on
29th May 1860, the youngest of four siblings. His family
moved to Barcelona when he was still an infant, and he
soon began piano lessons with his sister Clementina,
giving his first concert at the tender age of four and
delighting the audience at the Teatro Romea. He then
studied with Narcs Oliveres until he was six, when he
went to Paris and studied with Antoine-Franois
Marmontel. On his return to Spain he worked with
Oliveres again until the family moved to Madrid, where he
studied with Ajero, Mendizbal and Compta.
In 1870, still only ten years old, Albniz left the family
home and began to organize his own concert tours, which
took him around his native Spain. In 1872 he travelled to
South America, performing in Argentina, Uruguay and
Brazil, returning to Spain the following year for another
tour of the Iberian peninsula. At the age of fifteen he went
back to the Americas, giving concerts in Puerto Rico,
Havana, Santiago, Mexico City, New York and San
Francisco. On his return to Europe he toured England and
then travelled to Leipzig to study with Salomon Jadassohn
and Carl Reinecke. In a letter to his sister he complained
of being weary of his international travels this at the age
of fifteen.
Having returned to Madrid in 1877, Albniz obtained
the patronage of Count de Morphy, private secretary to
King Alfonso XII, thereby funding further studies in
Brussels with Gevaert and Brassin. After another trip to the
United States in 1878, he won a first prize at the Brussels
Conservatory in 1879, the jury members including Hans
von Blow and Anton Rubinstein. A year later, during a
journey that took in Prague, Vienna and Budapest, Albniz
supposedly met Liszt, whom he greatly admired, and was
accepted as one of his select group of pupils, although no
documentation exists to verify his claim.
In 1881 he went back to Cuba, Mexico and Argentina,
returning to Spain that May to tour Aragn, Navarre and
the Basque Country. An encounter with guitarist El

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Lucena led to his discovery of the sounds of that particular

instrument, and thereafter Albniz frequently incorporated
elements inspired by Andalusian guitar music into his
piano works.
In 1886 he appeared at Madrids principal concert hall,
the Saln Romero, and was acclaimed as a giant with
poetry in his fingers. By now he was renowned
throughout Spain. Another tour of Cuba followed, then in
1889, the publishing house rard organised a series of
piano recitals at the Universal Exposition in Paris. These
showcased his use of guitar-like strumming, entirely new
to keyboard music, and proved to be crucial in publicising
his work. Dukas, Faur, Debussy, Ravel and Chausson
were among those who heard him play, and the Hispanic
influence on French music flourished from that point
onwards. A continuous string of successes across Europe
made him a natural leader of the Spanish nationalist school,
and he introduced Falla, Turina and many other Spanish
composers to the musical circles of Paris. Albniz gave
his final public performance at a Libre Esthtique concert
in Brussels. In March 1909, by which time he was already
very ill, he moved to the French spa town of Cambo-lesBains, dying there on 18th May the same year.
Isaac Albnizs huge contribution to Spanish musical
nationalism reached its apogee with Iberia (subtitled
Twelve New Impressions in Four Books, 1905-09), but
before writing this masterpiece, he had already composed
a significant quantity of piano music, much of it falling
into the popular nineteenth-century genre of salon music:
pieces designed to meet the demand for music to be played
by the daughters of the aristocracy and upper middle
classes, for whom playing the piano ranked alongside
French and needlework as a central aspect of education.
A distinction must be drawn between this type of
music, written for European high society, for whom salon
music had become a principal pastime, and the kind of
music conceived by composers as a vehicle for technical
and formal innovation and to be performed by professional

elaboracin, se distingue en calidad de las anteriores.

Danza N 5 en la bemol mayor, dedicada A mi querida
discpula Pepita Patilla, hermana de Sofa y Victoria. Es
la ms interesante desde el punto de vista armnico y deja
traslucir al Albniz del futuro, por su bsqueda de lo
espaol y por su riqueza armnica. Danza N 6 en re

mayor, dedicada A mi distinguida discpula Concha

Grandera, igual que las anteriores en 2/4 y esquema
rtmico semejante al de la danza n 5.
Antonio Martn Moreno

Guillermo Gonzlez
Nace en Tenerife (Espaa). Estudia msica en el Conservatorio de Sta. Cruz de Tenerife y posteriormente
perfeccionamiento de piano en Madrid con el maestro Jos Cubiles. Contina su formacin en Pars, en el Conservatorio
Superior de Msica y en la Schola Cantorum. En Pars recibe directamente la gran tradicin interpretativa de la msica
impresionista, a travs de sus maestros V. Perlemuter y J. P. Sevilla. Obtiene desde muy joven premios en Concursos
de piano internacionales: Miln, Vercelli (Viotti), Jan, Tenerife. Catedrtico de piano del Real Conservatorio de
Msica de Madrid, desde 1974, ana su labor docente con la de intrprete ofreciendo recitales y conciertos por todo el
mundo, con actuaciones en Alemania, Australia, Austria, Francia, Repblica Checa, Estados Unidos, Eslovaquia,
Suiza, Rusia as como en numerosos pases latinoamericanos. Ha colaborado con numerosas Orquestas de prestigio
internacional, (Radiotelevisin Espaola, Nacional de Espaa, Estrasburgo, Dresde, Liverpool, Escocesa de Cmara,
Sinfnica de Madrid,), bajo la direccin de prestigiosos Maestros. Ha obtenido crticas memorables en que se cita su
profundo conocimiento y versatilidad interpretativa de la literatura pianstica de todas las pocas. Considerado como
especialista en msica espaola su repertorio incluye las integrales de Albniz, Falla y E. Halffter, as como estrenos
de diferentes autores espaoles contemporneos (Luis de Pablo, Garca Abril, Oliver, Cruz de Castro, Zulema de la Cruz,
etc.) Ha realizado numerosas grabaciones discogrficas, destacando las dedicadas a la obra pianstica de Scriabin, E.
Halffter, Falla, Garca Abril. Su disco Obras para piano, de Teobaldo Power, mereci el Premio Nacional del Disco en
1980. En 1996 graba en directo la Suite Iberia de Albniz para la Unin Europea de Radio. En 1998 publica la Iberia
de Isaac Albniz, en la que por primera vez se ofrecen los textos manuscritos del compositor en una edicin facsmil
(Ediciones Musicales Schott Internacional S.L) una segunda edicin urtext (copia impresa de los manuscritos), y una
tercera edicin revisada. Este texto es el que le ha servido para la grabacin discogrfica de la Suite Iberia (Naxos).
Invitado por conservatorios e Instituciones musicales, imparte numerosos cursos de Perfeccionamiento e Interpretacin
pianstica, tanto en Espaa como en el extranjero. Es Profesor Invitado habitual en la Facultad de Msica de la
Universidad de Melbourne. Ha sido miembro del Jurado en distintos Concursos internacionales de piano, y desde 1990
preside el Concurso Internacional de piano de Jan, que le ha concedido la Medalla de Oro por su labor. Es miembro
de la Real Academia de Bellas Artes de Tenerife, Granada y Cdiz, Catedrtico Extraordinario y Honorario del
Conservatorio de dicha ciudad y Socio de Honor de diversas entidades culturales. Se ha dado su nombre a diferentes
sociedades y escuelas musicales. Ha sido nombrado hijo Predilecto de la Laguna e hijo Adoptivo de Garachico (Tenerife).
En 1991 se le concede el Premio Nacional de Msica, mximo galardn del Estado Espaol en su especialidad. Es
Premio Aavingo de 1993. En 1994 le otorgan la Medalla de Oro de la Isla de Tenerife y en 1996, la Medalla de la
Villa de Garachico en el V Centenario. En el ao 2001 le concedieron el Premio Fundacin C.E.O.E Espaa a la
Interpretacin Musical.

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Page 8

SPANISH CLASSICS

ALBNIZ
Piano Music
6 Danzas espaolas 6 Pequeos valses
6 Mazurkas de saln
Guillermo Gonzlez, Piano

Guillermo Gonzlez Photo by Francisco Fernandez

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Also available:

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8.570325

8.570457

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Isaac

DDD

ALBNIZ

Playing Time

Piano Music 3
6 Danzas espaolas,
Op. 37
No. 1 in D major
No. 2 in B flat major
No. 3 in E flat major
No. 4 in G major
No. 5 in A flat major
No. 6 in D major

3:40
6:12
4:37
4:39
3:55
4:27

6 Pequeos valses,
Op. 25

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2:49
1:53

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No. 3
No. 4
No. 5
No. 6

Allegro ben ritmato

Allegretto
Con brio e ritmo
Allegro molto

6 Mazurkas de saln,
Op. 66
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No. 1
No. 2
No. 3
No. 4
No. 5
No. 6

3:24
4:00
4:29
2:30

22:24

Isabel: Tiempo enrgico

Casilda: Allegro
Aurora: Non troppo
Sofa
Christa: Presto
Maria: Tiempo giusto

4:06
3:07
3:26
4:05
4:17
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Guillermo Gonzlez, Piano

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Recorded at the Sala Manuel de Falla, Real Conservatorio Superior de Msica de Madrid,
Madrid, Spain, 4 January 2008 Producer: Jos Gmez Engineers: Miguel ngel & Miguel Alonso
Booklet notes: Antonio Martn Moreno Publishers: Unin Musical Ediciones
Cover painting by David Shin-ya Yu (by kind permission)

& 2009 Naxos Rights International Ltd.

Booklet notes in English
Comentarios en espaol
Disc Made in Canada
Printed & Assembled in USA

1
2
3
4
5
6

27:48

ALBNIZ: Piano Music 3

69:42

www.naxos.com

ALBNIZ: Piano Music 3

SPANISH CLASSICS

(18601909)

7 No. 1 Allegretto
8 No. 2 Melanclico

NAXOS

NAXOS

The third volume of Albnizs piano music presents three contrasting sets of dances, each
brimming with the delicacy, joie de vivre and voluptuous beauty that characterise so much
of his music. Albniz is touched by the spirit of Chopin in his delightful Pequeos valses, while
the Mazurkas de saln, like those of his predecessor, and the Danzas espaolas both transcend
mere folkloricism. Volumes 1 (8.554311-12) and 2 (8.570553), also featuring Guillermo Gonzlez,
one of the leading authorities on the composer, have been critically acclaimed.

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